Preserving artwork involves more than placing it inside an attractive frame. The materials used for matting, mounting, glazing, backing, and frame construction can all affect how well the artwork is protected over time.
Artwork may be affected by ultraviolet exposure, visible light, acidic materials, lignin, moisture, physical contact, pressure, improper mounting, and environmental conditions. The right framing approach helps reduce unnecessary risks while presenting the artwork appropriately.
At AUM Framing & Gallery, conservation-oriented framing materials and methods are selected according to the artwork’s medium, condition, value, size, and intended display environment.
Art preservation is the use of appropriate materials, handling methods, mounting techniques, and display conditions to help reduce damage and deterioration over time.
Preservation does not mean that artwork can never change or deteriorate. Instead, the goal is to reduce unnecessary exposure to conditions that may contribute to fading, discolouration, warping, physical damage, or other forms of deterioration.
In picture framing, preservation may involve acid-free materials, lignin-free materials, cotton-rag mats, archival mounting, reversible mounting methods, UV-filtering glazing, Museum Glass, appropriate separation from the glazing, and proper support and backing.
Artwork can be vulnerable to both environmental exposure and physical damage. Paper, photographs, textiles, posters, limited editions, autographs, and other materials may change when exposed to light, acidic materials, pressure, moisture, or improper handling.
Potential forms of deterioration may include fading, discolouration, yellowing, warping, physical distortion, damage from adhesives, damage from pressure or contact, and deterioration caused by unsuitable framing materials.
Framing cannot eliminate every source of deterioration. However, a properly designed framing system can help reduce unnecessary exposure and provide appropriate support.
Conservation framing uses materials and construction methods intended to protect artwork from unnecessary deterioration.
A conservation-oriented framing design may consider the artwork’s medium, condition, value, intended display environment, level of ultraviolet protection required, whether the mounting method should be reversible, and whether the artwork should be separated from the glazing.
Conservation framing may be appropriate for original artwork, fine art, photographs, posters, limited editions, historical documents, textiles, sports memorabilia, and other materials that require additional care.
Acid-free materials are made or treated to reduce acidic content. This is important because acidic materials can contribute to discolouration and deterioration when they remain in contact with artwork over long periods.
Acid-free materials may be used for matting, mounting materials, backing boards, paper artwork, photographs, posters, limited editions, documents, and certificates.
Lignin is a naturally occurring component of wood pulp. As lignin-containing materials age, they can contribute to yellowing and deterioration.
Lignin-free materials do not contain lignin from wood pulp. They are often preferred for conservation applications because they eliminate lignin as a potential source of long-term discolouration.
Cotton-rag mats are made from cotton fibres rather than wood pulp. They are valued for their stability and are commonly used in conservation-oriented framing.
Cotton-rag mats may be appropriate for original artwork, fine art, important photographs, limited editions, historical documents, collectible posters, and artwork requiring archival presentation.
The relationship between matting, mounting, and conservation is explained in the guide to matting and mounting for picture framing.
Archival mounting uses materials and methods selected to secure artwork while minimizing the risk of damage.
For paper artwork, archival mounting may be designed to remain fully reversible. This can be particularly important for original artwork, limited editions, concert posters, photographs, and other materials that may be affected by adhesives, pressure, light, or contact with glass.
Archival mounting materials may be acid-free, lignin-free, cotton-based, reversible, and selected according to the artwork’s specific requirements.
Glazing is the transparent protective material placed in front of framed artwork. It is usually glass or acrylic.
Depending on the product selected, glazing may protect artwork from dust and physical contact, reduce exposure to ultraviolet light, reduce reflections, improve visibility, and protect paper, fabric, photographs, and memorabilia.
Museum Glass and UV-filtering glazing can be considered when protection, clarity, and reduced reflections are important.
Light can contribute to fading and discolouration over time. This may affect artwork, photographs, posters, fabrics, autographs, documents, and other light-sensitive materials.
Both ultraviolet exposure and the overall display environment should be considered when framing artwork. Frames placed near windows, direct sunlight, strong interior lighting, or reflective surfaces may require additional consideration.
UV-filtering glazing helps reduce exposure to ultraviolet rays. Museum Glass can also help reduce reflections so artwork remains easier to see in brighter rooms.
The display environment can affect how artwork ages. Artwork should be evaluated according to the amount of natural and artificial light, the presence of reflections, and the conditions surrounding the framed piece.
Preservation considerations may include reducing direct exposure to sunlight, considering the amount of ambient light, using UV-filtering glazing when appropriate, using reduced-glare glazing when reflections interfere with viewing, keeping artwork properly separated from the glazing, and selecting suitable matting and mounting materials.
Photographs and posters can be vulnerable to fading, yellowing, warping, and damage from handling. Their materials may also be affected by unsuitable adhesives, acidic materials, pressure, and direct contact with glazing.
Conservation-oriented framing may include acid-free mats, lignin-free materials, cotton-rag mats, archival mounting, reversible mounting techniques, and UV-protective glazing.
For specialized paper artwork, see AUM’s concert poster framing service.
Textiles and memorabilia may contain fabric, paper, ink, autographs, photographs, and other materials with different preservation requirements.
Framing may involve conservation-grade materials, acid-free and lignin-free matting, UV-filtering glazing, archival mounting, custom mounts, shadow-box construction, and team-coloured mats.
These methods may be used for custom memorabilia framing and sports jersey framing.
Frame restoration addresses damage, deterioration, or missing details in an existing frame. Many damaged frames can be repaired or stabilized.
A restoration may involve stabilizing the frame, repairing damaged areas, recreating missing ornamentation, restoring worn gilding, refinishing selected areas, and blending repairs with the existing finish.
AUM provides picture frame repair and restoration for antique, gilded, wooden, and contemporary frames.
Museum-quality framing uses materials and construction methods selected to provide a high level of protection and presentation.
It may involve acid-free materials, lignin-free materials, cotton-rag mats, archival mounting, reversible mounting, UV-filtering glazing, Museum Glass, period-appropriate mouldings, closed-corner construction, hand-carved details, gilding, and specialized display methods.
Not every piece requires the same materials or degree of customization. The appropriate level of preservation depends on the artwork, its condition, its importance, and the intended display environment.
The best approach depends on the artwork’s medium, condition, value, and display environment. Conservation-oriented framing may include acid-free and lignin-free materials, cotton-rag mats, archival mounting, reversible mounting, and UV-filtering glazing.
Appropriate framing can help reduce exposure to ultraviolet light and other conditions that contribute to fading. However, no framing system can eliminate every possible cause of fading or deterioration.
Museum Glass provides ultraviolet protection, reflection control, and improved visibility. It is recommended when protection, clarity, and reduced reflections are important.
Acid-free mats can help reduce the risk of acidic compounds contributing to discolouration and deterioration over time. They are commonly considered for conservation-oriented framing.
Reversible mounting is designed so artwork can be separated from the mounting materials without permanently altering it. This may be important for original artwork, historic materials, limited editions, photographs, and posters.
Art preservation through picture framing involves more than selecting a frame that looks attractive. Matting, mounting, glazing, backing, frame construction, and display conditions all affect how artwork is supported and protected.
Acid-free and lignin-free materials, cotton-rag mats, archival mounting, reversible mounting, UV-filtering glazing, and Museum Glass may all play a role in conservation-oriented framing.
The appropriate approach depends on the artwork or object. A carefully selected framing system can help reduce unnecessary exposure to light, acidic materials, physical contact, and unsuitable mounting methods while presenting the artwork at its best.
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